<p>The objective of this essay is to approach a larger comprehension of the drama of George Bernard Shaw. The essay studies the combination of ideas and aesthetics in the play Mrs Warren’s Profession; how theatrical and mainly literary aesthetics interplay with political ideas and what the consequence of this combination is. The study illustrates that the dramatic method consists of using ideas as effective theatrical tools to move the reader/viewer by thought and not by sentiment. The study also illustrates that a key to understanding Shaw’s drama can be found in the construction of operas and symphonies; musical theoretic constructions are an integrated dramatic technique in Mrs Warren’s Profession. The study shows that it is a play with a political and social purpose; to raise awareness of the mechanisms of prostitution. The play does not use simplifications in terms of good and evil. It questions conventionality, unveils social hypocrisy and attempts to disillusion the reader/viewer. The antithesis between realism and idealism is an important source of dynamics and constitutes one of the principal aesthetical constructions.</p>

The objective of this essay is to approach a larger comprehension of the drama of George Bernard Shaw. The essay studies the combination of ideas and aesthetics in the play Mrs Warren’s Profession; how theatrical and mainly literary aesthetics interplay with political ideas and what the consequence of this combination is. The study illustrates that the dramatic method consists of using ideas as effective theatrical tools to move the reader/viewer by thought and not by sentiment. The study also illustrates that a key to understanding Shaw’s drama can be found in the construction of operas and symphonies; musical theoretic constructions are an integrated dramatic technique in Mrs Warren’s Profession. The study shows that it is a play with a political and social purpose; to raise awareness of the mechanisms of prostitution. The play does not use simplifications in terms of good and evil. It questions conventionality, unveils social hypocrisy and attempts to disillusion the reader/viewer. The antithesis between realism and idealism is an important source of dynamics and constitutes one of the principal aesthetical constructions.

Made available in DSpace on 2016-12-08T16:52:02Z (GMT). No. of bitstreams: 1 123971.pdf: 3207612 bytes, checksum: 14deff484d9b72aa5a74a4ee043990d2 (MD5) Previous issue date: 2015-05-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study articulates reflections between imaginary aspects and the state of pleasure present in the relationship between stage and audience in a contemporary aesthetic point of view. Authors like Durant, Bachelard, Castoriadis and Maffesoli are revisited in order to collaborate in the imaginary conception of the formulation developed here from primarily a dialogical design and game between the productive dimensions (artists) and receptive (viewer). We propose an investigation and a strain on imaging concepts, imagination and imagination in order to view them as fundamental artistic aesthetic principles to reconfigure the theatrical event. Thus, it is necessary to investigate the relationships created around the pleasure of the viewer as an extension of the creative possibilities and subject s interpersonal relations. To restore the receiver as the work towards the propellant, the theatrical aesthetics are discussed in the dimension of imaginary play, creative and poetic, which takes place in the presence of character, enhancing the speech and the immanent sense of the theatrical discourse. Such principles are developed through the study of two shows produced by recognized and active groups in Brazil, as follows: "A marca da água" Armazém Cia de Theatre / active in RJ and "Os Bem-Intencionados" LUME Theatre group Campinas / SP. / O estudo articula reflexões entre aspectos do imaginário e o estado de prazer presentes nas relações entre cena e público, segundo um ponto de vista estético contemporâneo. Autores como Bachelard, Durand, e Castoriadis são revisitados a fim de colaborarem na formulação da concepção de imaginário aqui desenvolvido a partir, sobretudo, de uma concepção dialógica e de jogo entre as dimensões produtivas (artistas) e receptivas (espectador). Para tanto, propõe uma investigação e uma distensão nos conceitos de imagem, imaginação e imaginário, a fim de perspectivá-los como princípios estéticos artísticos fundamentais para elaborar novas possibilidades de relações no acontecimento teatral. Assim, torna-se necessário investigar as diretrizes criadas em torno do prazer do espectador enquanto extensão das possibilidades criativas e relações intersubjetivas do sujeito. Ao restituir o receptor como propulsor do sentido da obra, a estética teatral é discutida na dimensão de jogo imaginário, criativo e poético, que se efetua em caráter de presença, potencializando o sentido imanente do discurso teatral. Tais preceitos desembocam na investigação analítica de dois espetáculos produzidos por grupos reconhecidos e atuantes no Brasil, sendo eles: A marca da Água do Armazém Cia de Teatro de Londrina/ atuante no RJ e Os Bem-intencionados do grupo LUME Teatro de Campinas/SP.

Si la direction d’acteurs de Jean Renoir est l’un des aspects les plus importants de son art, elle n’en est pas nécessairement le fait le mieux connu. La compréhension de celle-ci est en effet souvent troublée par des a-prioris théoriques ou par la popularité de certains mythes(comme le mythe de l’improvisation par exemple). Cette thèse propose donc de reconsidérer les pratiques et les théories de la mise en scène des acteurs chez Jean Renoir en restituant ses méthodes de travail à partir de documents d’archives (Cinémathèque française, UCLA), en réexaminant ses réflexions théoriques sur ce thème et en analysant les singularités du jeu des acteurs dans ses films. Nous examinons d’abord une conversion esthétique qui s’est opérée au début de sa carrière et qui constitue le prélude de son intérêt indéfectible pour la question de l’acteur. Ensuite, nous analysons la manière dont Renoir élabore progressivement, durant les années 1930, des stratégies de casting et des méthodes de travail, qui ont toutes pour but d’« animer » ses personnages. Puis, nous évoquons la période américaine du cinéaste durant laquelle sa « méthode française » est mise à rude épreuve par les studios hollywoodiens. Enfin, nous analysons les orientations prises par le cinéaste à la fin de sa carrière, lorsque son cinéma reflète une esthétique plus artificielle et théâtrale. Nous réévaluons notamment les enjeux de sa fameuse « méthode à l’italienne »en clarifiant sa relation au théâtre. En retraçant pas à pas le développement de la direction d’acteurs renoirienne, cette thèse a pour but d’en offrir une vue d’ensemble la plus objective et la plus exhaustive possible. / While the direction of actors is one of the most important aspects of Jean Renoir’s art, it is not necessarily well-known. Its understanding has been obscured by theoretical bias or some popular myths (such as the myth of improvisation). The present thesis therefore aimsto reconsider Renoir’s practices and theories in mise en scène of actors by reconstructing his working methods based on archival documents (Cinémathèque française, UCLA), by examining his theoretical reflections on the issue of actors, and by analyzing their performance in his films. First, we will examine an aesthetic shift which occurred at the beginning of his career and which constituted a prelude to his unwavering interest in the question of actors. Next, we will analyse the way in which in the 1930s he progressively elaborated on strategic casting and working methods, seeking to “animate” the characters. We will then consider the American period of the cineaste during which his “French method” was challenged by the Hollywood studios. Finally, we will analyse the approaches adopted by Renoir at the end of his career when his cinema increasingly assumed artificialand theatrical aesthetics. We reevaluate, in particular, his famous “Italian method” of rehearsal by focusing on its relation to the theater. By retracing the development of the direction of actors by Renoir, the thesis attempts to offer as an objective and exhaustive overview as possible.

Este estudo tem o objetivo de construir uma reflexão acerca do processo de corporificação de personagens transgêneros e das construções teatrais de um ator homossexual a partir de seu corpo cotidiano (conjugado). Para tanto, escolhi investigar os processos de criação teatral e de construção corporal de alguns personagens interpretados pelo ator João Carlos Castanha. Os corpos criados por esse ator ganham carne a partir de pedaços de corpos masculinos e femininos que resultam em corpos estéticos de sexualidade e gênero híbridos. Diante disso, desenvolvi uma pesquisa embasada em referencias teóricos que subsidiam a Teoria Queer, aliados a procedimentos metodológicos oriundos da pesquisa qualitativa. Assim, utilizei fontes impressas, imagéticas, entrevistas e observações durante a prática do trabalho do ator. Esse trabalho resulta de uma necessidade particular de me aproximar e de compreender essas construções corpóreas que acontecem em zonas periféricas num devir-teatral. Zonas essas que se constituem fora dos padrões dos gêneros masculino e feminino. / This study aims to build a reflection on the embodiment process of transgender characters and theatrical constructions of a gay actor from his real life body (conjugate). Therefore, I chose to investigate the working process and body constructions of the characters played by actor João Carlos Castanha. The bodies created by this actor gain flesh from pieces of male and female bodies that result in hybrid sexuality and gender aesthetics bodies. Therefore, I have chosen to develop a research grounded in theoretical and methodological references of qualitative research, as well as the thought that subsidizes Queer Theory. So, I made use of printed sources, imagery, interviews and observations during the practice of that actor's work. Therefore, this paper is the result of a particular need for the researcher to approach these body constructions that occur in peripheral areas in a becoming theater. Thus, those areas are constituted outside the standards of male and female bodies.

Este estudo tem o objetivo de construir uma reflexão acerca do processo de corporificação de personagens transgêneros e das construções teatrais de um ator homossexual a partir de seu corpo cotidiano (conjugado). Para tanto, escolhi investigar os processos de criação teatral e de construção corporal de alguns personagens interpretados pelo ator João Carlos Castanha. Os corpos criados por esse ator ganham carne a partir de pedaços de corpos masculinos e femininos que resultam em corpos estéticos de sexualidade e gênero híbridos. Diante disso, desenvolvi uma pesquisa embasada em referencias teóricos que subsidiam a Teoria Queer, aliados a procedimentos metodológicos oriundos da pesquisa qualitativa. Assim, utilizei fontes impressas, imagéticas, entrevistas e observações durante a prática do trabalho do ator. Esse trabalho resulta de uma necessidade particular de me aproximar e de compreender essas construções corpóreas que acontecem em zonas periféricas num devir-teatral. Zonas essas que se constituem fora dos padrões dos gêneros masculino e feminino. / This study aims to build a reflection on the embodiment process of transgender characters and theatrical constructions of a gay actor from his real life body (conjugate). Therefore, I chose to investigate the working process and body constructions of the characters played by actor João Carlos Castanha. The bodies created by this actor gain flesh from pieces of male and female bodies that result in hybrid sexuality and gender aesthetics bodies. Therefore, I have chosen to develop a research grounded in theoretical and methodological references of qualitative research, as well as the thought that subsidizes Queer Theory. So, I made use of printed sources, imagery, interviews and observations during the practice of that actor's work. Therefore, this paper is the result of a particular need for the researcher to approach these body constructions that occur in peripheral areas in a becoming theater. Thus, those areas are constituted outside the standards of male and female bodies.

Este estudo tem o objetivo de construir uma reflexão acerca do processo de corporificação de personagens transgêneros e das construções teatrais de um ator homossexual a partir de seu corpo cotidiano (conjugado). Para tanto, escolhi investigar os processos de criação teatral e de construção corporal de alguns personagens interpretados pelo ator João Carlos Castanha. Os corpos criados por esse ator ganham carne a partir de pedaços de corpos masculinos e femininos que resultam em corpos estéticos de sexualidade e gênero híbridos. Diante disso, desenvolvi uma pesquisa embasada em referencias teóricos que subsidiam a Teoria Queer, aliados a procedimentos metodológicos oriundos da pesquisa qualitativa. Assim, utilizei fontes impressas, imagéticas, entrevistas e observações durante a prática do trabalho do ator. Esse trabalho resulta de uma necessidade particular de me aproximar e de compreender essas construções corpóreas que acontecem em zonas periféricas num devir-teatral. Zonas essas que se constituem fora dos padrões dos gêneros masculino e feminino. / This study aims to build a reflection on the embodiment process of transgender characters and theatrical constructions of a gay actor from his real life body (conjugate). Therefore, I chose to investigate the working process and body constructions of the characters played by actor João Carlos Castanha. The bodies created by this actor gain flesh from pieces of male and female bodies that result in hybrid sexuality and gender aesthetics bodies. Therefore, I have chosen to develop a research grounded in theoretical and methodological references of qualitative research, as well as the thought that subsidizes Queer Theory. So, I made use of printed sources, imagery, interviews and observations during the practice of that actor's work. Therefore, this paper is the result of a particular need for the researcher to approach these body constructions that occur in peripheral areas in a becoming theater. Thus, those areas are constituted outside the standards of male and female bodies.

Sous l’intitulé « remembrance théâtrale », la thèse se propose d’examiner la présence du passé ainsi que les usages de l’Histoire et de la mémoire dans la création scénique contemporaine en Europe. Quel regard les artistes de la scène contemporaine portent-ils sur le passé ? Quelle lecture nous donnent-ils de l’Histoire et dans quelle perspective ? Comment, et à quelles fins, intègrent-ils ce passé dans leur processus d’écriture scénique ? En quoi la scène et ses possibilités artistiques sont-elles propices à l’exploration de la mémoire ? Quel rôle ces artistes délèguent-ils au spectateur dans l’établissement du sens de cette exploration ? L’analyse s’appuiera sur trois créations récentes de Maguy Marin (Description d’un combat), Christoph Marthaler (Papperlapapp) et François Tanguy (Onzième). A travers l’exemple de ces formes scéniques apparentées au « spectre postdramatique » (Christian Biet, Christophe Triau) ainsi qu’à la constellation des « écritures du plateau » (Bruno Tackels), dans lesquelles se manifestent les pratiques de la fragmentation, de la citation, de la trace et de l’archive, de la déconstruction et de l’assemblage, il s’agira de saisir les spécificités esthétiques qui découlent de ces explorations du temps depuis la scène en interrogeant à la fois les modalités de leur mise en œuvre, les conditions de leur réception et les visées de leur présentation. Selon une approche esthétique s’appuyant notamment sur la philosophie de l’Histoire de Walter Benjamin, la thèse envisage donc de déployer tout à la fois une poïétique, une poétique ainsi qu’une politique de la remémoration dans les arts du spectacle de ces quinze dernières années. / Under the heading "theatrical remembrance," this thesis sets out to examine the relation of modern theatre to the past and the uses of history and memory in contemporary stage creation in Europe. It examines how artists of the contemporary scene relate to the past asking the questions : What conception do they give us of history and from what perspective? How and for what purpose, do they integrate the past in their scenic writing process? In what way is the scene and its artistic possibilities conducive to the exploration of memory? What roles do artists delegate to their audience in determining the meaning of their artistic expression? The analysis is based on three recent creations by Maguy Marin (Description d'un combat), Christoph Marthaler (Papperlapapp) and François Tanguy (Onzième). Through these examples of scenic forms, affiliated to the "post-dramatic spectrum" (Christian Biet, Christophe Triau), as well as the contribution of Les écritures de plateau by Bruno Tackels, in which the practices of fragmentation, the quote, the trace, the archive; of dismantling and of assembly, appear. Through the use of the aesthetic characteristics resulting from these explorations of the past on the stage, and the questioning of the modalities of their implementation, the conditions of their reception and the purposes of their presentation and in accordance with an aesthetic approach based in particular on the philosophy of History by Walter Benjamin, the thesis plans to develop a poetics and politics of remembrance in the performing arts of the last fifteen years.